To Cuba and Back · Chapter
XVII explained
The narrator visits Havana, encounters Dr.
What happens
The narrator visits Havana, encounters Dr. and Mrs. Howe, learns of the trial of Señor Maestri for disrespect to the Captain-General, and reflects on the Creole interest in the case as a symbol of centralized power. The chapter ends with a description of a late-night contradanza and the morning bells.
Free preview opens on this chapter — companions, themes, and character notes appear beside the text.
Narrative arc
Story tension across the book — this chapter sits in Rising action.
- Setup
- Escalation
- Breaking point
- Aftermath
- Closing
The narrative climax occurs in the juxtaposition of the trivial, universal Cuban habit of smoking—where a dyin…
Full beat labels and climax notes unlock in the reader.
Follow the arc while readingThemes in this chapter
- Colonial Oppression and Despotism
The Maestri trial is seen by Creoles as evidence of the unlimited centralized power of the Captain-General, illustrating colonial despotism.
- Cultural Contrast Between North and South
The narrator contrasts the hot, lively Havana with the cooler, more temperate Santa Cruz, and notes the different social and legal customs.
- Travel as a Lens for Social Critique
The narrator uses his travels to observe and critique the political and social conditions in Cuba, such as the trial and the music.
Characters to notice
- Unknown Narrator
The narrator visits Havana, attends social calls, and observes the trial and music.
- Dr. Howe
Dr. Howe invites the narrator to attend the trial of Señor Maestri and provides an account of the proceedings.
- Mr. Theodore Parker
Mr. Parker has left Havana for Santa Cruz, having visited the College of Belen and been received by the Jesuits.
- The Jesuits
The Jesuits at the College of Belen courteously received Mr. Parker, knowing his reputation.
- Cubans
Creoles gather at billiard tables and show deep interest in the Maestri trial as a symbol of centralized power.
Key passages
“I say the tale as ’twas said to me.”
The narrator reports the story of Maestri's trial as he heard it, without verifying its accuracy.
The narrator acknowledges the secondhand nature of the account.
“It is a contradanza of Cuba. The great bells beat five, over the city; and instantly the music ceases, and is heard no more.”
The music of the Cuban contradanza stops abruptly when the city bells strike five in the morning.
Describes the precise ending of the dance music at dawn.
